What woman doesn't want to be photographed by Wong Kar-wai once
I saw Xin Zhilei say that she had been anxious about her appearance for a while, and some people said that she was ugly, and she also felt that she was quite stupid.
I didn't expect to see the finished product after filming "Flowers", only to find that I was beautiful!
Besides, Tang Yan has played too many silly white sweets since Zixuan, and most of them are a little noisy. But only Wong Kar-wai's Miss Wang is enthusiastic and has fresh vitality.
Some people say that no matter how bad the acting skills are, the "vase" can be turned into treasure by Wong Kar-wai.
The young Maggie Cheung, the miserable Zhang Ziyi, Mumu's Li Jiaxin, and even the South Korean flat-faced Song Hye Kyo are all full of erotic colors and sexual tension under the lens of Wong Kar-wai.
In fact, each of us has a unique sexual charm, but it has not been explored.
But then again, Wong Kar-wai doesn't seem to use so many rules and regulations when he takes care of the sexual tension of beautiful women, and even has no rules.
After all, in the past, when we photographed beauty, we were all pursuing a balanced and harmonious sense of order, which can give people a peaceful and pleasant visual enjoyment.
Shooting beauties is trying to shoot them flawlessly.
The figure is located in the center of the picture, and the slight light and shadow reflect Li Jiaxin's perfect silhouette and facial features, and she herself is very beautiful
But Wong Kar-wai often violates conventions and breaks the balance, and he doesn't care about their appearance when photographing beauties.
Instead, it uses light, shadow and color to magnify the shortcomings of the beauty, aggravate the contradiction of the picture, release the emotional tension of the characters, and use the side beauty to highlight the positive beauty.
Under the offensive of emotions, those shortcomings and contradictions have also been transformed into rich layered characteristics, so the female images he created are always very three-dimensional, which makes people feel love and pity.
Today, Yang will talk about the "shortcomings beauty" in Wong Kar-wai's lens, hoping to bring you a little inspiration for beauty~
"In the Mood for Love" - Maggie Cheung
"A rugged and bitter face needs ambiguous and nostalgic makeup, and break the dullness with femininity"
Key words of atmosphere beauty: magnify the features, emphasize the lines, and the colors are bold and highly saturated
Maggie Cheung's appearance is really not beautiful, her cheekbones are rugged, her lines are quite deep, the corners of her eyes are sharp, and the corners of her mouth are drooping, which brings a little sense of misery.
Er Dongsheng used to reject Maggie Cheung as Miss Hong Kong because he thought she was ugly.
The young Maggie Cheung in "Mong Kok Carmen".
But it is precisely because there are enough shortcomings that it is easy to achieve surprises.
Under the excavation of Wong Kar-wai, Maggie Cheung is not only diverse, but also realizes the leap from vase to actress.
In "In the Mood for Love", Wong Kar-wai often wraps the whole picture in gray tones, reflecting the loneliness, loneliness and loneliness in the hearts of the male and female protagonists.
Only a little light was left on Maggie Cheung's cheekbones, as if the feelings between the two were about to come out, but they could only be hidden in the darkness.
This ambiguous Hong Kong-style style must be supported by a certain thick bone. But if you change it to a thin goose egg face, you will have a feeling of floating and floating, and the layers contained are not rich enough.
Internet celebrity Hong Kong style always can't grasp the unique essence of Wong Kar-wai, most of which is the reason.
Pretty, but not pretty
However, only a sense of weight is not enough, although the rugged face has a mysterious sense of heaviness that can "sink down", but if the emotion cannot be "rushed out", it will only show the soil and show the old.
The makeup is not right, and the bulkiness is doubled
According to the previous idea of beauty, we will weaken the ruggedness of the bones, and combine the state of the face to balance and harmony through various means to be photogenic.
But Wong Kar-wai will never put a perfect face on the screen, she will only magnify Maggie Cheung's characteristics, shoot her femininity, shoot her dodging eyes, and shoot the impulse in her heart.
When the features are eye-catching enough, the disadvantages also become part of the features. This transformation is achieved through "highly saturated colors" and "stuttering lines".
The rough and long eyeliner, the pretty and eye-catching red lips, give full play to Maggie Cheung's femininity.
Now the makeup and lighting are all delineated, and the flat and blurred face completely suppresses the femininity, not to mention what emotions can be conveyed.
Thank you Yi Mengling, this picture feeds a lot of beauty people
In addition, when it comes to color, I have to mention more than 20 sets of out-of-print cheongsams of all kinds in "In the Mood for Love".
These cheongsams are made of colorful colors, all to set off the idea of the movie and show the weaknesses and conflicts of the characters.
Under the background of color, Maggie Cheung's beauty is also more three-dimensional.
The gloomy cheongsam hints at Su Lizhen's emptiness and helplessness after discovering her husband's cheating.
The brightly colored big flower cheongsam usually appears when Su Lizhen is free and happy.
The contrasting and intricate cheongsam all appear when the characters are indecisive and uncomfortable.
The relationship between the female protagonist and the male protagonist here was reminded by the neighbors, so the cheongsam patterns of the female protagonist are also swaying and tangled like her heart.
Art director Zhang Shuping said:
I placed a lot of strong textures in the picture, flower curtains, flower cheongsam...... Put them together, try if there is a problem with bright clothes and bright wallpaper, or what about wearing red clothes in front of red curtains. Most people think that you can't "bottom", but I just "bottom" to show you, which is an experiment.
What I want is a tacky and unbearable not beautiful, but everyone says it's beautiful.
It is this sense of contradiction that makes Maggie Cheung in "In the Mood for Love" both Eastern and Western, modern and independent, full of Asian elegance and the embodiment of Hong Kong cinema in the 90s.
"Chongqing Forest" - Faye Wong
"The old and young face needs to work a quality, and use modernity to suppress contradictions"
Keywords for vibe beauty: maverick, short hair, bright colors
People who don't know Faye Wong will think that Faye Wong is mature and indifferent, but as long as you look at her a few more times, you will feel that she is the spokesperson of innocence and aura.
Her maturity comes from her stiff bones and long proportions.
But the big round eyes, the small and short nose, and the smooth, tight fleshy cheeks are characteristics close to that of a child, which gives her a sense of childishness.
On the left is Faye Wong in "No. 1 Imperial Court", her makeup is ripe, but she can't hide the young circle of her facial features. Compared with Maggie Cheung, Maggie Cheung's facial features are long and narrow.
The indifference and alienation of adults, and the innocence of childishness, her face is intertwined and entangled.
If this extremely contradictory face is transformed according to daily aesthetics, she will be an ordinary girl, and the upper limit of her appearance is relatively low.
Stills from "No. 1 Royal Court".
But if you can develop a certain quality (for Faye Wong in the early days, she mainly focused on the characteristics of children), and inject a little unconventional modernity, you can achieve fashion and aura that ordinary people can't reach.
Because people in daily life are accustomed to judging beauty and ugliness by standard beauty, but if Faye Wong jumps out of the standard, people will not be able to judge beauty and ugliness with existing feelings, but will focus on Faye Wong herself and be attracted by her exuding qualities.
And Wong Kar-wai is the one who can break the conventions of beautiful women the most.
In "Chongqing Forest", he put Faye Wong in the most ordinary convenience store scene, but gave her an unusual short haircut.
The short hair weakens Faye Wong's boniness, but highlights Faye Wong's elf-like facial features. The messy hair inch adds a bit of sensitivity and throbbing to Ah Fei's budding girl's heart.
Wong Kar-wai also likes to shoot local close-ups of Afi, which can highlight this innocent feeling.
For example, there is a clip where Afei always peeks at 663 after he becomes interested in him.
Here Wong Kar-wai completely covers her left side, the sense of maturity brought by her bones is completely weakened, and the light short hair on her right does not have much weight, and only the big eyes that are exposed in the picture are the center of gravity.
So the smart cuteness is magnified to the extreme. This makes the audience not bored with Afei's voyeuristic behavior at this moment, and only feels that she is a girl in a crush, all for longing and love.
The psychedelic colors also allude to the inner world of the characters and exude Afi's qualities.
Different from the ambiguous and warm light of "In the Mood for Love", "Chongqing Forest" tells the story of lost love, everyone is individual, each has its own loneliness, so the tone of the picture is also a dark cold blue, giving people a sense of breathless dullness.
But when Afei appeared with girlish feelings, it was always accompanied by fluorescent bright colors to break the coldness, and the cramped living space finally had a sense of breathing.
Speaking of which, Faye Wong's aura is really natural.
It is said that Faye Wong is the only actor who has not been tortured by Wong Kar-wai, and others don't know how Wong Kar-wai wants to feel after filming dozens of films, but Faye Wong will get off work after filming her own.
But Wong Kar-wai praised Faye Wong as the most special one among the many actresses he has worked with, and he never blamed Faye Wong for not realizing it during filming, but only suspected that he did not receive her energy.
Wong Kar-wai is an intuitive player, and if he can't find a feeling, he will make a difficult choice, and he may need pure Faye Wong to drop one thing and one thing.
"Fallen Angel" - Li Jiaxin
"The boring wooden beauty must show the horse's feet to strengthen the recognition to have a charm"
Keywords of atmosphere beauty: break perfection, give up excessive makeup/P pictures, emphasize a recognizable place, and misanthropy
Unlike the first two beauties, Li Jiaxin is an undisputed standard beauty.
However, her beauty was qualitated by Yishu's eight words "beauty is beautiful, soulless".
Li Jiaxin's beauty can be recognized by most people, but it cannot be intoxicating.
She always stands empty, obviously beautiful but lacks a little feminine charm that turns people upside down, no matter what her identity is in film and television dramas, her sense of presence is always not too high.
There are also many beauties in life, or little beauties, although they are beautiful and net-like, and they don't allow themselves to have a little flaw when they package themselves from beginning to end, but they just don't have charm.
It's like an immortal plastic flower, and it can't be fragrant.
Net makeup will give people a feeling of perfection and not charming
So it's too perfect, but it's also a disadvantage.
But the amazing thing is that in Wong Kar-wai's lens, the wooden beauty Li Jiaxin also has acting skills, and she also exudes a sense of loneliness and coldness.
I specially put a GIF, and the feeling of the GIF is more casual, not so "end-up"
In "Fallen Angel", Wong Kar-wai uses shaky lenses and ultra-wide-angle lenses to distort the characters and images, giving people a sense of restless psychedelia.
On the other hand, unlike the previous dark tone, Wong Kar-wai also uses exposure in "Fallen Angel" to give people a sense of dizziness and flow, and the light source forms a strong contrast with the night.
So the loneliness, depression, and helplessness of the characters in the film are fully revealed.
This shot feels very uncomfortable.
At this time, no one remembered what Li Jiaxin looked like, and the standards of three courts, five eyes, four highs and three lows did not exist.
In this picture, you can see Li Jiaxin's high cheekbones, slightly wide chin, and slight backbiting. Li Jiaxin is not beautiful at the moment, but she is beautiful.
That impeccable face is abstracted into messy bangs and red lips that slowly exhale smoke.
All standards are distorted with cold and detached emotions, but they bring people a stronger shock.
Misanthropy is actually a good outlet for little beauties to enhance their sense of atmosphere and beauty.
Sharp eyeliner and dark red lips are drawn without effort, and they are automatically isolated from the environment, making them look more advanced.
After all, no one will think that the cute sister next door is superior, and only the unattainable goddess can be looked up to.
suddenly thought of a sentence from Karen Mok in "Fallen Angel": Karen Mok told Liming: "Do you know why my hair is dyed this color, so that people don't forget me so easily." ”
Remembering a person has nothing to do with appearance, it's just about how unique and deeply rooted they are in your heart.